Pretentious Yet Pointless
The painting shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. In this doodle Sol Aris delineates the relationship between salt and pepper. Contrasts of the senses of sight and touch emphasise the broad scope of this work. Sol Aris has not completed the colour pallette of this image.
The idea behind the Suprematist theory is that it enables Sol Aris to define form in terms of area, rather than odour. A central underlying meaning of this sculpture is the arena of contrasting salt and pepper contrasting strongly with the world of the senses of sight and sound of the sculpture. The shapes of Sol Aris's other works are clearly visible here, but in a different form.
In this painting Sol Aris demonstrates clearly the relationship between honey and donkey hair. The artist employs a rectangular grid to restrict the colours, which therefore subsist in a world of their own doing.
Contrasts of sugar and happiness dominate the foreground of this image. In stereometric construction, the visual phenomena of the physical world are, in themselves, unimportant: the only worthy thing is feeling, as such.
Such forms, delicately modulated, create complex and fascinating interactions with the self.
``The problems dealt with in abstract art relate to the interplay of forces; the geometrical forms often used by abstract artists do not indicate (as has been thought) a conscious and intellectual, mathematical approach -- a square and a circle in art are nothing in themselves and are alive only in the instinctive and ispirational use an artist can make of them in expressing a poetic idea''
[Ben Nicholsen, Notes on Abstract Art, 1942]